Now, I have about twenty per hand and can change the number of delays, change different parameters, the delays to the modulations and so forth. I developed the EIS over the time period that I was just talking about [1991].

We have a very large constituency in the world from all of the years that we've done workshops, retreats, and talks. I would say there a few thousand people out there that have some relationship to what we do.

The sound that I play is delayed, it's modified, and it's modulated. It's an intelligent system; it's happening now.

I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.

I'm thinking of the audience as being ambient, meaning not sitting focused but being in the space and exploring it while listening to the players.

In the beginning we were making tape music, meaning, we were making music on tape.

I wrote my sonic meditations and started using them with students. I took a bunch of UCSD students out to Joshua Tree and we did the sonic meditations on the boulders.